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Schlagwort: Visual Art

Ultra-Fuchs schläft in Innenhof

Ein Ultra-Fuchs in Moskau. Die gibt es wohl nur dort. „Entdeckt“ hat ihn Vadim Solovyov.

Until recently, Moscow was covered in snow. And the giant ultra-foxes were sleeping peacefully in the courtyards of the „round houses“ they loved so much. But now it’s spring. This means that the foxes will soon go away from the city, from civilization, to equip their summer ultra-burrows. For me personally, spring is always kind of illusion of a new beginning. Like „well, finally, from now everything will be different, from now everything will be fine.“ I don’t know where this feeling comes from. Probably from the childhood. Somewhere in the subcortex there is a feeling of approaching summer holidays. But of course, we are not going to have any holidays any more. The most we can expect is a vacation. But this is different. So we can only watch with envy as the ultra-foxes go into the woods.

(via this isn’t happiness)

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Ein riesiges Aquarium mit Wellen im Herzen Seouls

Also fast, weil eigentlich „nur“ eine anamorphotische Illusion, aber optisch sehr geil.

An enormous aquarium with perpetually crashing waves has popped up amidst an urban landscape in South Korea, but don’t expect to hear the water sloshing around if you walk by. Designed by District, the elevated tank is actually a massive anamorphic illusion. The digital media company created the public project utilizing the world’s largest advertising screen that spans 80.1 x 20.1 meters. As shown in the video, the deceptive aquarium looms over the outdoor area and splashes repeatedly into the sides.

(Direktlink, via Colossal)

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Der vielleicht erste Hyperlapse-Film der Welt aus dem Jahr 1995: Pacer

„Timelapse“ für Zeitraffer dürfte heute jedem bekannt sein, von der vermeintlichen Weiterentwicklung „Hyperlapse“ dürften auch zumindest einige schon gehört haben, wo die Technik ja schon auf Smartphones ihren Platz findet.

Glaubt man dieser Beschreibung, ist die Technik allerdings so neu gar nicht, sondern wurde hierfür schon 1995 praktiziert. Das wäre zu der Zeit ein perfektes Techno-Video gewesen. Oder auch heute ein nicht weniger perfektes BoC Video.

Pacer looked at the world in a way no film had before it. The geometry of the city and its construction, the artistry of Montreal’s landscape seen the hyper-prism of a camera racing through time on different dimension. Compressed imagery and physical motion combine in a never-been-seen-before kind of way.

Pacer can lay claim to being the first hyperlapse film, or at the very least, to being the precursor to it’s development. It was shot on a Bolex 16mm camera in Montreal, Quebec in 1995. Shooting single frames, all the ‚effects‘ are done in camera. The film’s original negative was destroyed in it’s one and only printing in 1995. That print was screened once and telecined for posterity, and the print was never projected again.

The film would’ve fallen into obscurity, except for the low rez video version that was included in a VHS video magazine called Channel Zero in 1996. Other visual artists like TopherZ of the Dandelion Collective who saw that Channel Zero and began to pick up the technique, and with Guy Roland’s subsequent film, Spacer, in 2004 (later known as Kino Citius), the technique of hyperlapse took shape.

The only print of the film was carefully transferred to 2K digital in 2014 and painstakingly remastered in early 2015, resulting in the version you see here.


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Audiovisuelle Landschaften in einem Goldfischglas

Eine audiovisuelle Serie (hatte ich einzeln schon) des in Amsterdam ansässigen Künstlers Kamiel Rongen, der dafür verschiedenste Flüssigkeiten vor der Kamera in einem Goldfischglas mischt. Und das ist voll schön.

In my dictionary Hyde Park is a synonym for landscapes, in whatever form.
I create this audiovisual experience through music and film.
The music that I make lets you drown in a bath of warm sounds.
My first LP, Hidden Nature, just got released on the label 6e Kolonne.
When I’m playing live I use my mobile studio, which is equipped to make the music go in any direction.
From soothing ambient to hard rhythms, as long as it’s consistent with the landscape visuals.
All my visuals are filmed from a fishbowl.
In my fishbowl I create a world where gravity is changing.
As a cameraman I react on the situations that occur.



(Direktlink, via Creators Project)

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Schlafende projiziert auf die Wände New Yorks

Das Künstlerkollektiv Dawn of Man projiziert in der Nacht Aufnahmen von schlafenden Menschen auf die Wände der Stadt, die niemals schläft.

These massive nappers were projected throughout NYC over the course of several weeks, occurring unannounced, and each lasting only for a few hours. An unsuspecting audience usually emerges at each location, often sparked with intrigue, sometimes enlightenment, and always a whole lot of questions.

(Direktlink, via TDW)

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Auf Knopfdruck von Passanten: Großprojektionen von Sinnesorganen in der Stadt

Turn Me ON ist ein Street Art-Projekt von Happy City Lab, bei dem Passanten per Riesenschalter Projektionen an die Wände ihrer Stadt werfen können. Vorzugsweise von Augen und Mündern. Gerade die mit den Augen finde ich toll.

Outsized switches on street corners.
Passers-by – strangers and neighbours – bewildered, come and press the switch.
Giant eyes and mouths appear on buildings, transformed and alive for one minute, before disappearing yet leaving an indelible image in one’s mind.
Monumental street art and city transformation, Turn Me ON is available to tour in your city.

Das Ganze lässt sich wohl auch buchen.

(Direktlink, via this isn’t happiness)

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